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OTHING is more natural than to imitate, by the sound



xternal object makes, and to form its name accordingly. A itain bird is termed the cuckoo, from the sound which it emits. en one sort of wind is said to whistle, and another to roar; a serpent is said to hiss, a fly to buzz, and falling timber to when a stream is said to flow, and hail to rattle,—the analuween the word and the thing signified is plainly discern

But imitation is not confined to single words. The works 10. joetical and imaginative writers abound in passages which

their melody suggest their meaning. These passages must, om their very nature, receive the interpretation of the voice to convey their full force. The following examples are selected, upon which the pupil may practice in making the sound an echo of the sense.

1. THE POWER OF WORDS. Words are instruments of music; an ignorant man uses them for jàrgon; but when a måster touches them they have unexpected life and soul. Some words sound out like drùms; some breathe memories sweet as flètes; some call like a clarionet; some shout a charge like trumpets; some are sweet as children's talk; others rich as a mother's answering back.

2. A DRUM.
The double, double, double beat

Of the thundering drum

Cries, Hàrk! the fòes come:
Chàrge, chàrge! 't is too late to retreat.

3. WAR AND PEACE. The brazen throat of war had ceased to roar, All now was turned to jollity and gàme.

4. A GIANT. With sturdy steps came stalking on his sight A hideous giant, horrible and high.

5. RUSHING OF THE TIDE. When the tide rushes from her rumbling caves, The rough rock ròars; tumultuous boil the waves.

6. HUM OF INSECTS. The shard-borne beetle with his drowsy hums Hath rung night's yawning peal.


sudden open fly
The infernal gàtes, and on their hinges grate
Harsh thùnder.


Heaven opened wide Her ever-during gates, harmonious sound, On golden hinges turning.


Part huge of bulk, Wallowing unwieldy, enormous in their gait, Tempest the ocean.


As raging seas are wont to roar, When wintry storm his wrathful wreck does threat, The rolling billows beat the ragged shòre.

11. FELLING TREES. Loud sounds the àx, redoubling strokes on stròkes ; On all sides 'round the forest hurls her oaks Headlong. Deep echoing groan the thickets hewn, Then rustling, crackling, crashing, thunder down.

12. SOUNDS HEARD IN THE COUNTRY. Down the rough slope the ponderous wàgon rings; Through rustling corn the håre astonished springs; Slow tolls the village clock the drowsy hòur; The partridge bursts away on whirring wings.

13. LABORIOUS AND IMPETUOUS MOTION. With many a weary step and many a groan Up the high hill he heaves a huge round stone: The huge round stone, resulting with a bound, Thunders impetuous down, and smokes along the ground.

14. LANGUAGE COMPARED TO AN ORGAN. 0, how our organ can speak with its many and wonderful

vòices !Play on the soft lute of lóve, blow the loud trumpet of

war, Sing with the high sesquiáltro, or, drawing its full diapason, Shake all the àir with the grand storm of its pedals and X.


Two craggy rocks, projecting to the main,
The roaring wind's tempestuous rage restràin:
Within, the waves in sòfter murmurs glide;
And ships secure without their halsers ride.

For a charm of powerful trouble
Like a hèll-broth boil and bubble;
Double, double toil and trouble,
Fire burn and caldron bùbble.

17. POWER OF THE ENGLISH LANGUAGE. Now clear, pure, hard, bright, and one by one, like to hail

stones, Short words fall from his lips fast as the first of a shower,Now in twofold column, Spondee, Iamb, and Trochee, Unbroke, firm-set, advance, retreat, trampling along, Now with a sprightlier springiness, bounding in triplicate

syllables, Dance the elastic Dactylies in musical cadences on; Now, their voluminous coil intertangling like huge ana

condas, Roll overwhelmingly onward the sesquipedalian words.

STYLE. THE first and most natural use of the voice is in common

talks is the foremost accomplishment of a reader.

The test to be applied in reading the conversational style is this: Would a listener know whether you were reading or talking?

The narrative and descriptive styles are next in regard to fluency, and should be read as a person would tell a story with the design to make it interesting to his auditors.

The didactic style is more difficult, as there is constant danger of falling into dullness and monotony of manner. It must be read as if earnestly and sympathetically teaching truth to the hearers.

The style of public address varies with the nature of the occasion which gives rise to it, from a familiar and colloquial manner to a more formal and dignified utterance. It must be free from all mannerisms; and if circumstances demand loudness of voice, it must not be at the sacrifice of a sweet and agreeable quality.

The declamatory style is that of the orator on great public occasions. All the vocal effects are, so to speak, magnified. The tones are more full and powerful, the inflections more decisive, the manner more imposing than in ordinary utterance.

Dramatic and emotional expression require all the varied resources of which the voice is capable ;-" with this special observance, that you o'erstep not the modesty of nature.”

I. Conversational. 1. “A fine morning, Mr. Linkinwater,” said Nicholas, entering the office. Àh!” replied Tim, “talk of the country, indeed! What do you think of this now for a day,-a Lòndon day,—éh?”– “It's a little clearer out of town,” said Nicholas. “Clearer?” echoed Tim Linkinwater, “ you shall see it from my bed-room window.” You shall see it from mine,replied Nicholas, with a smile. “Pooh! pooh!” said Tim Linkinwater, “don't tell . Country! Nonsense. What can you get in the country but new-laid eggs and flowers? I can buy new-laid eggs in Leadenhall market any morning before breakfast; and as to flowers, it's worth a run up stairs to smell my mignonette, or to see the double wallflower in the back-attic window, at No. 6, in the court."

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2. “But hàrk! I hear him còming,

And mother's drawing the tea;
His step is on the scràper,

Run to the door and see.”

The outside làtch was lifted,

A draft blew in the room;
They heard him calling, "Mother,"

And“ Ábner, fetch a bròcm.”

He stamped his feet in the entry,

And brushed his homespun clòthes. “Well, bóys.” “Good-evening, Reuben,

What nèws to-night?” “It snows!”


3. “He has been very extràvagant." “Ah, sir, he has been very unfôrtunate, not extrăvagant.”- Unfortunate! Åh, it's the same thing. Little odds, I fancy. For my part, I wonder how folks càn be unfortunate. I was never unfortunate. Nobody nèed be unfortunate, if they look after the main chănce. always looked after the main chànce.”—“He has had a large fàmily to maintain.”—“Àh! màrried foolishly; no offence to you, ma’am. But when poor folks mărry poor folks, what are they to look for? you know. Besides, he was so foolishly fond of assisting others. If a friend was sick, or in jail, out came his purse, and then his creditors might go whistle. Now if he had married a woman with money, you know, why then..."

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4. Bingo, why, Bingo! hey, hey-hère, sir, hère ...

He's gone and off, but he 'll be home before us;
'Tis the most wayward cur e’er mumbled bone,
Or dogged a master's footstep. Bingo loves me
Better than ever beggar loved his álms.

II. Light Narrative.
1. When I was still a boy and mother's pride,

A bigger boy spoke up to me so kind-like,
“If you do like, I'll treat you with a ride

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